Kevin Bresnahan

I believe the JALC sells out Boston Symphony Hall every time they play there so maybe he figures that is better money?

For the past 30 years or so, Wynton has brought the JLCO into Boston, typically to Symphony Hall. I've never seen them play live and don't think I ever will. During those same 30 years, Wynton brought a small group into Boston twice. The first time, I couldn't get a ticket. It's was one of those "you have to know someone" shows. The second time I got lucky and got a pair of tickets. It was an excellent show. I think it was a sextet maybe? Wynton played his ass off. He can play very well in a small band, without a doubt. Last July, Wynton brought a sextet to Jimmy's Jazz Club in Portsmouth. I thought I might want another chance to catch Wynton in a small band... but $200/ticket with all of the best seats already sold to "Jimmy's Inner Circle" members? Thanks but no thanks. BTW - Jimmy's Inner Circle membership costs $5K per year. So spend $5K to get first dibs at $200 Wynton tickets... and who said Jazz shows are inexpensive?

Patented by B. Beavis & B. Head?

Regarding The Music Of Wayne Shorter recording, I have heard most of it. In fact, a majority of it is on YouTube. However, I am not a big fan of the JALC sound, so I didn't buy the CD. Their ensemble playing isn't for me. I was never a fan of that style. I'm much more more of a small group fan and probably will continue to prefer that over big bands. I'm also not a fan of the JALC because of their continued bias against having women in the band but that is for a different discussion.

Love how you ignore that this "tiny label" is Jazz At Lincoln Center's own label that has released JALC recordings since 2015 or that this is not even a new recording. It was recorded in 2006. So this is the Jazz At Lincoln Center releasing what they feel is a recording they made that they felt would be enjoyed by JALC fans. Why this one? You'll have to ask them. My guess is that there was strong demand for it. FWIW, this same label put out a JALC's tribute to Wayne Shorter, featuring Wayne himself, back in 2020 to decent reviews. Did that meet your sniff test for "early jazz re-enactment"?

I think Tiny Grimes' Profoundly Blue is up there for me.

Not a fan of brutalist architecture but like TTK, I grew up with a horrible example, Boston City Hall, which looks like someone on acid thought he'd make a building that looks like a really big harmonica.

What's old is new again. Kinda like vinyl records.

The Muse Records catalog is owned by Concord and I thought I read somewhere that they aren't keen on licensing so I doubt Mosaic would get to work with them.

They're still making those things?? I had a friend who a CT90 back in 1973. It looked a lot like this new one...

I used a full-face helmet for years. It wasn't until my last year riding my Victory Cross Country that I bought an open-face helmet because the Cross Country had a windshield so I didn't need the face shield. I was living in NH when they repealed their helmet law. It was at the tail end of my initial riding days. I took a short trip to a local store and I thought I'd see what it felt like to ride without a helmet. I not only felt "naked", even with glasses on, my eyes watered so bad that I could barely see. Helmets for me.

https://15questions.net/interview/jim-snidero-about-improvisation/page-1/ Snidero: "There’s often a misunderstanding when it comes to jazz improvisation, that somehow you’re making it all up as you’re going along out of thin air. I am part of a tradition established by the greatest jazz improvisors - Bird, Miles, Coltrane, Rollins, etc … - which is that there is plenty of pre-conceived material that is used when improvising. You hear it time and again on recordings of jazz greats, the same language on multiple recordings. The trick is to be in the moment, listen, react, and most importantly, be musical." I read this as Snidero saying that every good improvisor has their favorite licks and sounds - not that they solo the same all the time. I think I know what he means because when I listen to music on the radio, I'm always trying to figure out who is playing and it's often a sound or pet lick or a combination of the two that gives me the clues as to who it is. This doesn't mean that they repeat themselves, just that they often use the same devices that make them sound like they do.

Two of these discs were sealed. Can't get more mint than that. I could swear that I owned Jimmy Smith's "Angel Eyes" but it's not in the racks. However, I don't remember it having a brown smoke tinted jewel case. Was that how it was released?

On to the next PREX purchase - Jack Montrose - Jack Montrose Sextet (Pacific Jazz). Red vinyl is cool looking but hides the fact that this record has an off center Side 1 and is crackly as hell. Only $5, so can't complain to much, especially since side 2 is in much better shape.

Johnny Hodges & Earl Hines - Stride Right (Verve). An original RVG pressing for $4 at Princeton Record Exchange. I'm digging this one. Notthing earth-shattering but fun swinging Jazz. I'm very glad I picked this one up. I wonder how Richard Davis ended up playing bass on this date?

Good god, that audio is atrocious!! If that's what the CD sounds like, I'll pass. Maximized to the point of pain. Those sibilant cymbals and s sounds hurt. And I like the Replacements, so it's not the music.

To my ears, the other 3 tunes from that session, "Blues For Mr. Tatum", "The Sleepwalker" & "The Chief", sound as good as the ones released on The Sixth Sense.

There were a few stretches of country road but mostly it was pretty busy, with plenty of areas with multiple businesses. I was on it for about a half hour before I got dumped onto 295.

That's the way Waze sent me, so yes I did.

Worth the trip! I must've walked in on a day when they got in a large collection because the vinyl new arrival bins were pretty full. I ended up buying 11 LPs and 3 CDs. One of the LPs is toast though - I played it when I got home and it skips in an area where it looked rough. I almost bought a Mosaic. The had the Shorty Rogers Atlantic LP box. I brought it up front to have them open it to check the records out and we found CDs inside of a an "MR5" box. I did not buy the CD set.

I was just chatting with Dmitry about these UA blue & black 'b' reissues' prices on another thread. I just can't believe that they are going for $100+ all over the place. I bought a bunch of these just a few years ago for less than $20 each. I think my days of shopping for BN vinyl are just about over anyway, so no biggie for me. But if I were just getting into this... wow. It'd be painful.

Sounds like it’s worth the detour. I’m not exclusively into LPs but my CD collection is pretty extensive, so I often skip the used CD sections these days. It sounds like I’ll be there a while. I figure it’s about 6 hours from there to my home in York, so I’ll have to try and time it right. But Waze hasn’t let me down in finding the fastest route home in a while. Thanks for the advice.

I’m down in Delaware visiting the in-laws. This year, I drove down by myself and I’ll be driving back to Maine by myself tomorrow as well. I’ve always wanted to stop at the Princeton Record Exchange and this looks like a perfect opportunity to see what it’s all about. But is it worth the detour? They don’t post any listings online so I have no idea what their stock is like. They’ve never sold online either, so I have no idea how they grade their records or if they sell records that belong in a dumpster. So should I go? If I do, where do I park? Is there a decent place to eat nearby if I get hungry?

I watched Pee Wee's Playhouse with my daughters when they were very young and thought he was great. Mr. Rogers is a perfect comparison. I also thought his death scene in "Buffy The Vampire Slayer" was great.

I thought I read that the reverb at CBS' New York studios was done using an echo chamber? I seem to remember reading that they had one in the basement that they pumped the music into and picked up the reverb'ed sound using a single mic. From this topic over on the Steve Hoffman forum: https://forums.stevehoffman.tv/threads/history-of-cbs-records-30th-street-studio-nyc-many-pictures.388186/page-19 "Directly below 30th Street's recording room sat a simple concrete storage room that Laico and CBS head Mitch Miller transformed into one of the finest natural acoustic chambers in the world. 'After a few years, producers from around the world began visiting, wanting to know what we were doing in order to get that sound,' notes Laico. 'When in reality it was just this concrete bunker with a speaker, a U-47, and a bare lightbulb!'" Also in that thread: "Frank said that after they built the chamber and made it operational, it never really sounded right until Les Paul told them that the key was to separate the wet sound from the dry sound in time by adding a delay. In those days the only way to accomplish that was to record the signal onto tape on a machine with separate record and playback heads and then pick the recorded signal from the playback head and feed it back into the console, thus introducing a time delay. By adjusting the speed of the tape you could adjust the time delay. That simple trick "made all the difference in the world", in Frank's words, and was the key to the success of their reverb chamber."